Don't know anything about BBE's actual circuitry, but when you drive a pure tank all you're left with is transformer saturation, which is not that spectacular. The surrounding parts then might matter, but it's then a design decision.

So there's no disproportional building up of vibration at all with increasing stimulation by the transducer? And also the physical movement always stays exactly the same?

And if the spring is built into a combo amp that starts to vibrate more and more at higher gain (because the housing at some point starts to vibrate), does that not (potentially) start to shake the spring (even more) disproportionally? I would think that the actual construction, speaker-size, number of speakers etc. has potential to add specific non-linearity - is that not the case?

As I mentioned, I never analyzed it, so I'm just assuming here really, but I certainly would have the required gear to do so (standalone spring reverb, combos and rotary-amps)

" It is a measurable fact. Not my opinion. And not even subtle. If you can't hear difference in tail between Valhalla and VSR reverb tail then again change your job dude." kmonkey

And if the spring is built into a combo amp that starts to vibrate more and more at higher gain (because the housing at some point starts to vibrate), does that not (potentially) start to shake the spring (even more) disproportionally?

Twangstrom is already super dynamic to the input signal, but if desired, it also lets you modulate the "shake" of the springs with an Env follower to get similar results.

So there's no disproportional building up of vibration at all with increasing stimulation by the transducer? And also the physical movement always stays exactly the same?

And if the spring is built into a combo amp that starts to vibrate more and more at higher gain (because the housing at some point starts to vibrate), does that not (potentially) start to shake the spring (even more) disproportionally? I would think that the actual construction, speaker-size, number of speakers etc. has potential to add specific non-linearity - is that not the case?

As I mentioned, I never analyzed it, so I'm just assuming here really, but I certainly would have the required gear to do so (standalone spring reverb, combos and rotary-amps)

You can simulate this by modulating parameters with the envelope follower. If it doesn't happen in a combo amp, it can still happen in Twangström

So there's no disproportional building up of vibration at all with increasing stimulation by the transducer? And also the physical movement always stays exactly the same?

Only tested my rackmount MasterRoom spring, but it's mostly (+- noise) Linear Time Invariant - fancy way of saying that they always behave the same(static). That being said, the beauty of digital is that you can go above and beyond, which makes it way more flexible. You don't want to saturate the transducer btw, sounds like crap.

So there's no disproportional building up of vibration at all with increasing stimulation by the transducer? And also the physical movement always stays exactly the same?

And if the spring is built into a combo amp that starts to vibrate more and more at higher gain (because the housing at some point starts to vibrate), does that not (potentially) start to shake the spring (even more) disproportionally? I would think that the actual construction, speaker-size, number of speakers etc. has potential to add specific non-linearity - is that not the case?

As I mentioned, I never analyzed it, so I'm just assuming here really, but I certainly would have the required gear to do so (standalone spring reverb, combos and rotary-amps)

You can simulate this by modulating parameters with the envelope follower. If it doesn't happen in a combo amp, it can still happen in Twangström

Yes, I know and even though I love that you implemented that, I didn't really manage to get what I was after... (perhaps I should have tried longer/harder)

" It is a measurable fact. Not my opinion. And not even subtle. If you can't hear difference in tail between Valhalla and VSR reverb tail then again change your job dude." kmonkey

Just to add some context: the reason I was looking for a block diagram was to better understand the amp modulation. The effect seems very subtle. At first I thought I'd use it for tremolo effects, but that wasn't yeilding the desired results (LFO to input does great for that). The manual confirms that it's the level going into or out of the tank, which I guess means after the input and drive stages, but that's why I was looking for a diagram. As mentioned, once I figured this out, I realized for what I was trying to do (Fender type of tremolo plus reverb), modulating the input knob with the LFO then adding some drive did the trick.